Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Samoa and from Hong Kong.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1962 to 1977.
I'm losing my edge.
To all the kids in Copenhagen and Philadelphia.
I'm losing my edge to the art-school Manchester kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Josef K practice in a loft in Edinburgh.
I was working on the chamberlin sounds with much patience.
I was there when Tom Verlaine started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Franke to the electroclash kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Bizarre Inc.. All the underground hits.
All Cecil Taylor tracks. I heard you have a vinyl of every Excepter record on German import.
I heard that you have a white label of every seminal punk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a synthesizer and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Alison Limerick record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
New Age Steppers,
David Bowie,
Crispy Ambulance,
The Birthday Party,
Suicide,
The Gun Club,
the Normal,
Liaisons Dangereuses,
Bill Wells,
R.M.O.,
Ossler,
Terrestrial Tones,
The Doors,
Alphaville,
Nik Kershaw,
Jeru the Damaja,
Joe Finger,
The Associates,
Fatback Band,
Charles Mingus,
The Music Machine,
Fluxion,
Alton Ellis,
Darondo,
Organ,
Amazonics,
Visage,
Cluster,
Japan,
Thinking Fellers Union Local 282,
Moebius,
James Chance & The Contortions,
Index,
Wighnomy Brothers & Robag Wruhme,
Masters at Work,
Country Joe & The Fish,
The Last Poets,
Piero Umiliani,
Dark Day,
Camouflage,
New York Dolls,
Pagans,
Zero Boys,
Ronnie Foster,
The Buckinghams,
Kerrie Biddell,
Freddie Wadling,
Deepchord,
The Dirtbombs,
The Stooges,
Ash Ra Tempel,
One Last Wish,
Television,
Blake Baxter,
Gregory Isaacs,
Das Ding,
Interpol,
Surgeon,
Sarah Menescal,
ABC,
Public Image Ltd.,
Wings,
The Red Krayola,
Ohio Players,
Adolescents, Adolescents, Adolescents, Adolescents.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.